...Among the singers in our chapel on solemn occasions is our beloved son, Francisco de Peñalosa … musician extraordinary (who) displays such exquisite art … that we fervently desire his continuing presence.' Pope Leo X, 4 November 1517 (in a letter to the Cathedral Chapter of Seville) ...Bruno Turner © 1992
The award-winning Cardinall’s Musick have finally completed their Byrd series, and now look outside the British isles to a composer who had to wait for a long time for his genius to be fully recognised, although he was well known to his contemporaries, and produced a considerable output. Guerrero was born in 1528 in Seville, the city that was to remain at the centre of his entire life. His early training came from his brother Pedro and it is thought that he was a chorister at the magnificent Cathedral in Seville with its sumptuous music foundation. Guerrero himself states that he studied with Morales, and it was Morales who recommended the young musician for the post of maestro de capilla at Jaén Cathedral in 1546 – a short-lived appointment. The main work on this disc is the gloriously sunny and joyful Missa Congratulamini mihi. Based on an Easter motet by Crecquillion (also recorded here), it is full of the voluptuous exuberance of the Paschal season. The five-part texture, with two treble parts, adds to the shining sound. Also included are a number of Easter motets. Maria Magdalena et altera Maria and Post dies octo are highly descriptive, narrative works, highly contrasted in mood and texture. The four other pieces on this disc show various facets of Guerrero’s mastery. Dum esset rex (in honour of Mary Magdalene) is similar to a spiritual madrigal whilst the eight-part Ave Maria is a sonorous double-choir plea to the Virgin. The two settings of Regina caeli (the Marian antiphon to be sung during Eastertide) both use a plainsong cantus firmus as their starting point. The older sounding, four-part version uses a minor-mode motif whilst the eight-part setting uses the more traditional plainsong melody woven into an exuberant and joyful Easter statement.
Wydawnictwo to zawiera dzieło zatytułowane „Christmas Vespers At Westminster Cathedral”, umieszczone na jednej płycie CD.
Tracklista: CD 1 1. Are You A Sleeper? 2. Postcard Song 3. How to Be Alone 4. Little Flowers (Acoustic Version) 5. I Hope This One Never Ends 6. Castle And Cathedral 7. Castle And Cathedral 8. Worry All The Time 9. Grandma Mary 10. Finding Your Feet Again CD 2 1. Little Flowers 2. Everything But Sleep 3. Ringing Of The Bell Tower 4. Are You A Dreamer? 5. East From West 6. California Brown And Blue
1. Un Sueno en la Floresta 2. Gavota Madrigal 3. Danza Paraguaya No. 1 4. Danza Paraguaya No. 2: "Jha, Che Valle!" 5. Danza Paraguaya No. 3: London Carape 6. Julia Florida 7. Vals, Op. 8, No. 3 8. Vals de Primavera 9. Vals Tropical 10. Vals, Op. 8, No. 4 11. Las Abejas 12. Fabiniana 13. Mazurka Apasionata 14. Pais de Abanico 15. Cueca 16. La Cathedral: I. Preludio (Saudade) 17. La Cathedral: II. Andante religioso 18. La Cathedral: III. Allegro solemne 19. A Mi Madre 20. Caazapa 21. Una Limosna por el Amor de Dios
Westminster Cathedral continue their survey of the music of Tomás Luis de Victoria – begun in triumphant style with a Gramophone Award-winning disc of the Missa O quam gloriosum – with this new recording of the Missa Ave Regina caelorum, an opulent double-choir setting based on Victoria’s two eponymous motets. Also included are a four-voice Magnificat, two Ave Maria settings (for four and eight voices), the double-choir Ave Regina caelorum, and five Vesper Psalms, all composed for double-choir as if to underline their significance in the liturgy. The performances do full justice to the ambition of Victoria’s intentions, as Martin Baker firmly cements his position as worthy successor to the glories achieved by this choir under James O’Donnell and, before him, David Hill. This new recording is available in multichannel hybrid SACD and conventional CD formats.CLASSICAL CDs OF THE YEAR 2004 (The Daily Telegraph) 'The choir of Westminster Cathedral has long been noted for its distinctive Continental-style tone, which gives its performances of Latin sacred polyphony an attractively distinctive quality. This magnificent recording, which shows off Victoria's mastery of the art of writing music for up to three choirs in the grandest possible manner, suggests that 2004 is a vintage year for them … recordings of Renaissance polyphony rarely come much better than this' (Daily Telegraph) 'It is ideally suited to the full-throated, vibrant singing of the Westminster Cathedral Choir, while Martin Baker's finely controlled direction displays a keen architectural sense … A wonderful disc' (Goldberg Early Music Magazine) 'the choir is radiant in its home acoustic, and Martin Baker's well-researched decision to employ an understated organ 'continuo' adds small but telling touches of colour to the texture' (International Record Review)
Zaledwie rok po błyskotliwym debiucie z 1992 roku, Red House Painters powrócili z nie jednym, a dwoma albumami. Oba, zatytułowane po prostu Red House Painters, ukazały się zaledwie w kilkumiesięcznym odstępie w 1993 roku. Pierwszy z nich - który od okładkowej fotografii zyskał nieoficjalny podtytuł Rollercoaster - jest postrzegany, jako jedna z najbardziej przemyślanych kolekcji piosenek Marka Kozeleka, przynosząca tak klasyczne utwory jak: „Grace Cathedral Park”, „Katy Song” czy „Mistress”.Teraz „Red House Painters” powraca na półki sklepowe w postaci podwójnej płyty winylowej.
Tracklista:1. Echo2. White Trash Moon3. Fog4. Costa Rica5. A Cleaner Light6. San Francisco7. Cathedral Heat8. Husk9. Caffeine10. Spring11. Clay Feet12. Faith
Tracklista: 1. Collapsing Skies 2. Your Prayers Echo Into Nothingness 3. Indecipherable Sermons Of Gloom 4. Undying Dysphoria 5. Centuries Of Deluge 6. The Decaying Light 7. The Great Abandonment 8. Dredged Into Existence 9. Droning Monoliths 10. Dismal Liturgies 11. Invocation In The Cathedral Of Dust 12. Rebirth Through Excoriation 13. Withering
This recording was made to mark the tercentenary of the formal opening in 1697 of St Paul’s, rebuilt by Sir Christopher Wren after the Great Fire of London. It consists of four notable pieces written for the cathedral between 1697 and 1755. John Blow wrote a new anthem for the opening ceremony. I was glad when they said unto me is a setting of the text which Bishop Compton took for his sermon during the service. Handel’s Te Deum and Jubilate, written for the Peace of Utrecht, was first heard in the Cathedral on 5 March 1713. William Boyce’s anthem Lord, thou hast been our refuge was written in 1755 for the Festival of the Sons of the Clergy, the charity that raised (and still raises) funds for needy clergymen and their families. Like all the pieces recorded here, it is music that demands to be heard in the spacious acoustic of the building for which it was written.